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Davide Sora

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Everything posted by Davide Sora

  1. I also start by planing the fingerboard side, but to make it as parallel as possible to the grain, not to get the same angle on the two sides. In an ideal case (block perfectly cut on the quarter) it would not make any difference, but this is not always the case. So I try to predict with a provisional tracing how to arrange the faces to obtain the same width of the sides with a minimum width of 25 mm for both. About adding spruce wings, of course this is not strictly necessary, you could trace where the template is raised simply trying to keep the marking point as perpendicular as possible and then worry about adjusting the line by eye during actual working with chisels and rasps, and trusting the reduced support surface for cutting and drilling. But honestly, the "wasted time" in adding wings is so ridiculous that I prefer the greater accuracy they allow, even if when I buy the wood I try to take blocks large enough not to have to add wings at all, also because sometimes allow you to get two scrolls from the same block if it's worth it (nice old wood shouldn't be wasted).
  2. Titebond is perfectly suited for this (no constant load).
  3. To be sure that the entire surface of the eye is included in the maple, I prefer to square the block to the final width before gluing the spruce, then I add the spruce and square it bringing to the maple size. the purpose of the spruce wings is to be able to accurately trace the template without bending it, and to have a more stable support surface if you have to cut the outline with a band saw or make the holes for the pegs with a drill press. If, on the other hand, you need to widen the block because it is too narrow, you should add maple wings instead of spruce, using the same wood as the block and taking care of the grain, flame and orientation like that of the block, at least in the eye area.
  4. It seems you haven't heeded my suggestion to have at least 25mm of original block plane (maple). Now I'm afraid you'll find yourself with the right eye of the scroll made just of spruce...
  5. The maximum scoop should be at 1/3 of the length of the vibrating string (from the nut), which is about halfway up the violin fingerboard. This corresponds to the 7th fret on guitars
  6. Gewa's system with the screw from behind is clever to reduce the protrusion that conflicts with the arching. Another clever way would be to replace the screw with a headless screw like these: https://www.amazon.com/Screws-No-Head-Fasteners/s?rh=n%3A17290023011%2Cp_n_feature_two_browse-bin%3A3269098011
  7. The blades for the purfling cutter that I found for sale were always too thick to be used in pairs with a double bevel, also the steel was not so good. The best source for blades of excellent steel and appropriate thickness in my opinion are the ones sold as a spare blades for X-acto type knives or similar, you can find them 0.5 and 0.7mm thick. Of course they will need to be brought to the appropriate width and resharpened with the appropriate shape.
  8. This is how I proceed, make sure you have at least 25 mm of squared plane on the sides in order to include the whole eye of the scroll: https://youtu.be/PZYSq36XqXg?t=511 A width of 42 mm is not strictly necessary, the average of the Stradivari for example is more around 41mm, Del Gesù also reaches up to about 38 mm. Not that I recommend it...
  9. For some it still matters, for others it doesn't. The same goes for buyers, to each his own.
  10. For these small blades the grinding wheel is definitely superfluous, especially if you have a diamond stone (I have a 300 grit one too). Save your fingers and don't burn the steel.
  11. Yup, it is tricky and annoying for me too... The work is practically done only on the stones, just a setting of the overall shape with the grinding wheel where I get a pointed shape with double bevels, then I get the rounding only on the stones. Use pliers to hold the small blades when using the grinding wheel, your fingers are too precious. Luckily when you have found the right shape and sharpening, this is definitive and you don't have to redo it anymore, at most I refresh it on the finer stone and leather strop with abrasive paste from time to time (not after every purfling work, maybe every three or four violins, or when I feel the need)
  12. I use this, the blades are 0.6mm thick and 3.7mm wide, with double bevel. The spacer is a strip of metal (steel), to prevent it from compressing. Here in action: https://youtu.be/2d2rsgOeWeM?t=134
  13. Ah, then I hadn't misunderstood If you look at the "t" of Antonius it is quite different, to me it looks like faciebad. In any case, the AS stamp is really different.
  14. Oh, sorry for my misunderstanding.
  15. It is not, it can be seen immediately at first glance if you know the original Stradivari labels. The purpose of these labels is precisely this, to be obviously not original in order not to pass for a forgery that could run into legal problems.
  16. Well, it is impossible to have all the holes the same size. By setting the pegs to the same size before reaming you will get the larger holes towards the collar all the same, but the smaller ones on the opposite side progressively larger, but if you wanted to get all the small holes the same for aesthetic reasons, then the size of pegs shafts would be different, which would probably be worse aesthetically
  17. I make all the pegs the same diameter and ream the holes in the pegbox until I get the same protrusion for all of them. For new violins I don't think it makes much sense to do the opposite. As for the diameter at the collar, I like 7.6 mm (anyway the smaller hole in my peg shaper). If the wood is very hard and stiff and the head does not protrude too much, 7.2 is fine too because allow you to get smaller holes, but I prefer to be cautious to avoid finding myself with pegs that flex before starting to turn, quite possible with woods that are not too stiff. For the starting holes I use 5 mm drill bit. I don't have precise measurements of the finished reamed holes, I think about 6 mm the smaller one and 7 mm the wider one on the opposite side. If you are interested I put this post on the Contemporary maker's gallery forum: https://maestronet.com/forum/index.php?/topic/350745-davide-soras-bench/&do=findComment&comment=958457
  18. My method of establishing the position of the centers of the violin pegs. Nothing revolutionary, just a system that works like any others (the good ones). https://www.youtube.com/watch?v=5o4nlyaURtM Probably the only thing different from the usual is the method for establishing the position of the A peg (a secret revealed), which I place using an arc tangent to the volute. Sounds sensible to me, but does anyone do it this way or am I the only one? Well, not that really matters...
  19. Flutings that end early are often an indication of factory manufacturing. The router cannot get under the throat...
  20. I guess powdered chalk, orange to match the varnish color. I use red chalk.
  21. You mean this? https://www.youtube.com/watch?v=nMcvMp4QXAs
  22. Unfortunately, some vendors have no qualms about putting up video tutorials showing how to use the Magic Bridge Adapter to boost sales, so we shouldn't be surprised if someone takes them seriously. https://www.youtube.com/watch?v=gqbprPCwoC8
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